A quadriga is a car or chariot drawn by four horses abreast. It was raced in other contests, it is represented in profile as the chariot of gods and heroes in bas-relief. The quadriga was adopted in ancient Roman chariot racing. Quadrigas were emblems of triumph. In classical mythology, the quadriga is the chariot of the gods; the word quadriga may refer to the four horses without it, or the combination. Modern sculptural quadrigas are based on the four bronze Horses of Saint Mark or the "Triumphal Quadriga", a set of equine Roman or Greek sculptures, the only quadriga to survive from the classical world, the pattern for all that follow, their age is disputed. Erected in the Hippodrome of Constantinople on a triumphal arch, they are now in St Mark's Basilica in Venice. Venetian Crusaders looted these sculptures in the Fourth Crusade and placed them on the terrace of St Mark's Basilica. In 1797, Napoleon carried the quadriga off to Paris. Due to the effects of atmospheric pollution, the original quadriga was retired to a museum and replaced with a replica in the 1980s.
A quadriga appears at the Libyco-Punic Mausoleum of Dougga, which dates to the 2nd century BC. Some of the most significant full-size free-standing sculptures of quadrigas include, in approximate chronological order: 1793 – The Berlin Quadriga was designed by Johann Gottfried Schadow in 1793 as the Quadriga of Victory as a symbol of peace. Located atop the Brandenburg Gate in Berlin, Germany, it was seized by Napoleon during his occupation of Berlin in 1806, taken to Paris, it was returned to Berlin by Field Marshal Gebhard von Blücher in 1814. Her olive wreath was subsequently supplemented with an Iron Cross; the statue suffered severe damage during the Second World War, the association of the Iron Cross with Prussian militarism convinced the Communist government of East Germany to remove this aspect of the statue after the war. The iron cross was restored after German reunification in 1990. C. 1815 – The Carrousel quadriga is situated atop the Arc de Triomphe du Carrousel in Paris, France. The arch itself was built to commemorate the victories of Napoleon, but the quadriga was sculpted by Baron François Joseph Bosio to commemorate the Restoration of the Bourbons.
The Restoration is represented by an allegorical goddess driving a quadriga, with gilded Victories accompanying it on each side. 1819–1829 – The Quadriga on the General Staff Building on the Palace Square in Saint Petersburg 1828–1832 – The Quadriga on the Alexandrinsky Theater, in Saint Petersburg c. 1841 – The Panther Quadriga on the Semperoper in Dresden 1845–1848 – The Quadriga on top of Thorvaldsen Museum in Copenhagen by Hermann Wilhelm Bissen and Stephan Ussing c. 1850 – The Quadriga on the Bolshoi, above the portico of the Bolshoi Theatre designed by sculptor Peter Clodt von Jürgensburg c. 1852 – The Siegestor in Munich is topped by a lion quadriga created by Martin von Wagner 1868 – The Quadriga on the ducal palace in Braunschweig was destroyed in 1944 during the Second World War. It was reconstructed in 2008 and is considered as the largest one in Europe 1888 - Quadriga de l'Aurora as part of the Font de la cascada, in Parc de la Ciutadella, Barcelona. Erected by Josep Fontserè.
1893 – Columbus Quadriga atop the Peristyle Building, World's Columbian Exposition, Daniel Chester French, sculpture. 1895 – The Quadriga of Brabant, situated on top from Parc du Cinquantenaire. Two winged Victory figures, each leading a horse, trumpet Columbia's arrival; the sculptor was Frederick William MacMonnies. C. 1900 – Two Quadrigas on the Grand Palais in Paris, the work of French sculptor Georges Récipon 1904 – Victory and Progress, horse-drawn chariots by J. Massey Rhind on the Wayne County Building in Detroit, though each of the two chariots is drawn by three instead of the customary four horses. 1906 – Progress of the State at the Minnesota State Capitol is unique for being covered in gold leaf, is situated above a building entrance rather than a triumphal arch. It was sculpted by Edward Clark Potter. 1911–1935 – The Monument to Vittorio Emanuele II in Rome, Italy features two statues of goddess Victoria riding on quadrigas. 1912 – The Wellington Arch Quadriga is situated atop the Wellington Arch in London, England.
It was designed by Adrian Jones. The sculpture shows a small boy leading the quadriga, with Peace descending upon it from heaven. 1919–1923 – The former Banco di Bilbao headquarters at no. 16 Calle de Alcalá in Madrid, now part of Banco Bilbao Vizcaya Argentaria, features two quadrigas on a commercial building. The building was designed by Ricardo Bastida, with the sculptor of the chariot Higinio Basterras, other sculptures by Quentin de la Torre; the charioteers are helmeted men standing on the handrails o
Apollo is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The national divinity of the Greeks, Apollo has been variously recognized as a god of music and prophecy, the sun and light, plague and more. Apollo is the son of Zeus and Leto, has a twin sister, the chaste huntress Artemis. Seen as the most beautiful god and the ideal of the kouros, Apollo is considered to be the most Greek of all gods. Apollo is known in Greek-influenced Etruscan mythology as Apulu; as the patron of Delphi, Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was seen as a god who could bring ill-health and deadly plague. Apollo is the god of archery and the invention of archery is credited to him and his sister Artemis, he had a quiver of golden arrows. He is said to have never missed his aim, his arrows could inflict harm by causing sudden deaths or deadly plague.
As the leader of the Muses and director of their choir, Apollo functions as the patron god of music and poetry. He is the inventor of string-music; the Cithara and the lyre are said to be his inventions. The lyre is a common attribute of Apollo. Hymns sung to Apollo were called paeans. Apollo delights in the foundation of towns and the establishment of civil constitution. Hence is associated with dominion over colonists. Additionally, he is the god of the protector of fugitives and refugees. Apollo is the interpreter of laws, he presides over the divine law and custom along with Zeus and Themis. As the protector of young, Apollo is concerned with the health of children, he brings them out of their adolescence. Boys in Ancient Greece, upon reaching their adulthood, dedicated it to Apollo. Apollo is the patron of protector of herds and flocks, he is causes abundance in the milk produced by cattle, is connected with their fertility. As an agricultural deity, Apollo protects the crops from diseases the rust in corns and grains.
He is the controller and destroyer of pests that infect plants and plant harvests. Apollo is the god who wards off evil, he delivered men from the epidemics. Various epithets call him the "averter of evil". In Hellenistic times during the 5th century BCE, as Apollo Helios he became identified among Greeks with Helios, Titan god of the sun. In Latin texts, there was no conflation of Apollo with Sol among the classical Latin poets until 1st century AD. Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 5th century CE. Apollo The name Apollo—unlike the related older name Paean—is not found in the Linear B texts, although there is a possible attestation in the lacunose form ]pe-rjo--[) on the KN E 842 tablet; the etymology of the name is uncertain. The spelling Ἀπόλλων had superseded all other forms by the beginning of the common era, but the Doric form, Apellon, is more archaic, as it is derived from an earlier *Ἀπέλjων, it is a cognate to the Doric month Apellaios, the offerings apellaia at the initiation of the young men during the family-festival apellai.
According to some scholars, the words are derived from the Doric word apella, which meant "wall," "fence for animals" and "assembly within the limits of the square." Apella is the name of the popular assembly in corresponding to the ecclesia. R. S. P. Beekes rejected the connection of the theonym with the noun apellai and suggested a Pre-Greek proto-form *Apalyun. Several instances of popular etymology are attested from ancient authors. Thus, the Greeks most associated Apollo's name with the Greek verb ἀπόλλυμι, "to destroy". Plato in Cratylus connects the name with ἀπόλυσις, "redemption", with ἀπόλουσις, "purification", with ἁπλοῦν, "simple", in particular in reference to the Thessalian form of the name, Ἄπλουν, with Ἀειβάλλων, "ever-shooting". Hesychius connects the name Apollo with the Doric ἀπέλλα, which means "assembly", so that Apollo would be the god of political life, he gives the explanation σηκός, "fold", in which case Apollo would be the god of flocks and herds. In the ancient Macedonian language πέλλα means "stone," and some toponyms may be derived from this word: Πέλλα and Πελλήνη.
A number of non-Greek etymologies have been suggested for the name, The Hittite form Apaliunas is attested in the Manapa-Tarhunta letter related to Hurrian Aplu, a god of plague, in turn from Akkadian Aplu Enlil meaning "the son of Enlil", a title, given to the god Nergal, linked to Shamash, Babylonian god of the sun. The role of Apollo as god of plague is evident in the invocation of Apollo Smintheus by Chryses, the Trojan priest of Apollo, with the purpose of sending a plague against the Greeks (the reasoning behind a god of the plague becoming a god of healing is
An angel is a supernatural being found in various religions and mythologies. In Abrahamic religions, angels are depicted as benevolent celestial beings who act as intermediaries between God or Heaven and humanity. Other roles of angels include protecting and guiding human beings, carrying out God's tasks. Within Abrahamic religions, angels are organized into hierarchies, although such rankings may vary between sects in each religion; such angels are given specific titles, such as Gabriel or Michael. The term "angel" has been expanded to various notions of spirits or figures found in other religious traditions; the theological study of angels is known as "angelology." Angels who were expelled from Heaven are referred to as fallen angels. In fine art, angels are depicted as having the shape of human beings of extraordinary beauty but no gender, they are identified with symbols of bird wings and light. The word angel arrives in modern English from the Old French angele. Both of these derive from Late Latin angelus, which in turn was borrowed from Late Greek ἄγγελος aggelos transliterated by non-Greek speakers in its phonetic form ángelos.
Additionally, per Dutch linguist R. S. P. Beekes, ángelos itself may be "an Oriental loan, like ἄγγαρος." The word's earliest form is Mycenaean a-ke-ro, attested in Linear B syllabic script. The rendering of "ángelos" is the Septuagint's default translation of the Biblical Hebrew term mal’ākh, denoting "messenger" without connoting its nature. In the associations to follow in the Latin Vulgate, this meaning becomes bifurcated: when mal’ākh or ángelos is supposed to denote a human messenger, words like nuntius or legatus are applied. If the word refers to some supernatural being, the word angelus appears; such differentiation has been taken over by vernacular translations of the Bible, early Christian and Jewish exegetes and modern scholars. The Torah uses the terms מלאך אלהים, מלאך יהוה, בני אלהים and הקודשים to refer to beings traditionally interpreted as angels. Texts use other terms, such as העליונים; the term מלאך is used in other books of the Tanakh. Depending on the context, the Hebrew word may refer to a human messenger or to a supernatural messenger.
A human messenger might be a prophet or priest, such as Malachi, "my messenger". Examples of a supernatural messenger are the "Malak YHWH,", either a messenger from God, an aspect of God, or God himself as the messenger Scholar Michael D. Coogan notes that it is only in the late books that the terms "come to mean the benevolent semi-divine beings familiar from mythology and art." Daniel is the first biblical figure to refer to individual angels by name, mentioning Gabriel in Daniel 9:21 and Michael in Daniel 10:13. These angels are part of Daniel's apocalyptic visions and are an important part of all apocalyptic literature. In Daniel 7, Daniel receives a dream-vision from God; as Daniel watches, the Ancient of Days takes his seat on the throne of heaven and sits in judgement in the midst of the heavenly court an like a son of man approaches the Ancient One in the clouds of heaven and is given everlasting kingship. Coogan explains the development of this concept of angels: "In the postexilic period, with the development of explicit monotheism, these divine beings—the'sons of God' who were members of the Divine Council—were in effect demoted to what are now known as'angels', understood as beings created by God, but immortal and thus superior to humans."
This conception of angels is best understood in contrast to demons and is thought to be "influenced by the ancient Persian religious tradition of Zoroastrianism, which viewed the world as a battleground between forces of good and forces of evil, between light and darkness." One of these is a figure depicted in the Book of Job. Philo of Alexandria identifies the angel with the Logos inasmuch as the angel is the immaterial voice of God; the angel is conceived as God's instrument. Four classes of ministering angels minister and utter praise before the Holy One, blessed be He: the first camp Michael on His right, the second camp Gabriel on His left, the third camp Uriel before Him, the fourth camp Raphael behind Him, he is sitting on a throne high and exalted In post-Biblical Judaism, certain angels took on particular significance and developed unique personalities and roles. Although these archangels were believed to rank among the heavenly host, no systematic hierarchy developed. Metatron is considered one of the highest of the angels in Merkabah and Kabbalist mysticism and serves as a scribe.
Michael, who serves as a warrior and advocate for Israel, is looked upon fondly. Gabriel is mentioned in the Book of Daniel and in the Talmud, as well as in many Merkabah mystical texts. There is no evidence in Judaism for the worship of angels, but there is evidence for the invocation and sometimes conjuration of angels. According to Kabbalah
In classical mythology, Cupid is the god of desire, erotic love and affection. He is portrayed as the son of the love goddess Venus and the war god Mars, he is known in Latin as Amor. His Greek counterpart is Eros. Although Eros is portrayed as a slender winged youth in Classical Greek art, during the Hellenistic period, he was portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or a deity, shot by Cupid's arrow is filled with uncontrollable desire. In myths, Cupid is a minor character who serves to set the plot in motion, he is a main character only in the tale of Cupid and Psyche, when wounded by his own weapons, he experiences the ordeal of love. Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as "Love conquers all" and the retaliatory punishment or torture of Cupid. In art, Cupid appears in multiples as the Amores, or amorini in the terminology of art history, the equivalent of the Greek erotes.
Cupids are a frequent motif of both Roman art and Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto. Cupid continued to be a popular figure in the Middle Ages, when under Christian influence he had a dual nature as Heavenly and Earthly love. In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings. In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love as an icon of Valentine's Day; the Romans reinterpreted myths and concepts pertaining to the Greek Eros for Cupid in their own literature and art, medieval and Renaissance mythographers conflate the two freely. In the Greek tradition, Eros had a contradictory genealogy, he was among the primordial gods. In Hesiod's Theogony, only Chaos and Gaia are older. Before the existence of gender dichotomy, Eros functioned by causing entities to separate from themselves that which they contained.
At the same time, the Eros, pictured as a boy or slim youth was regarded as the child of a divine couple, the identity of whom varied by source. The influential Renaissance mythographer Natale Conti began his chapter on Cupid/Eros by declaring that the Greeks themselves were unsure about his parentage: Heaven and Earth and Aphrodite, Night and Ether, or Strife and Zephyr; the Greek travel writer Pausanias, he notes, contradicts himself by saying at one point that Eros welcomed Aphrodite into the world, at another that Eros was the son of Aphrodite and the youngest of the gods. In Latin literature, Cupid is treated as the son of Venus without reference to a father. Seneca says. Cicero, says that there were three Cupids, as well as three Venuses: the first Cupid was the son of Mercury and Diana, the second of Mercury and the second Venus, the third of Mars and the third Venus; this last Cupid was the equivalent of Anteros, "Counter-Love," one of the Erotes, the gods who embody aspects of love.
The multiple Cupids frolicking in art are the decorative manifestation of these proliferating loves and desires. During the English Renaissance, Christopher Marlowe wrote of "ten thousand Cupids". In the classical tradition, Cupid is most regarded as the son of Venus and Mars, whose love affair represented an allegory of Love and War; the duality between the primordial and the sexually conceived Eros accommodated philosophical concepts of Heavenly and Earthly Love in the Christian era. Cupid is winged because lovers are flighty and to change their minds, boyish because love is irrational, his symbols are the arrow and torch, "because love wounds and inflames the heart." These attributes and their interpretation were established by late antiquity, as summarized by Isidore of Seville in his Etymologiae. Cupid is sometimes depicted blindfolded and described as blind, not so much in the sense of sightless—since the sight of the beloved can be a spur to love—as blinkered and arbitrary; as described by Shakespeare in A Midsummer Night's Dream: In Botticelli's Allegory of Spring known by its Italian title La Primavera, Cupid is shown blindfolded while shooting his arrow, positioned above the central figure of Venus.
In ancient Roman art, cupids may carry or be surrounded by fruits, animals, or attributes of the Seasons or the wine-god Dionysus, symbolizing the earth's generative capacity. Cupid carries two kinds of arrows, or darts, one with a sharp golden point, the other with a blunt tip of lead. A person wounded by the golden arrow is filled with uncontrollable desire, but the one struck by the lead feels aversion and desires only to flee; the use of these arrows is described by the Latin poet Ovid in the first book of his Metamorphoses. When Apollo taunts Cupid as the lesser archer, Cupid shoots him with the golden arrow, but strikes the object of his desire, the nymph Daphne, with the lead. Trapped by Apollo's unwanted advances, Daphne prays to her father, the river god Peneus, who turns her into a laurel, the tree sacred to Apollo, it is the first of several tragic love affairs for Apollo. A variation is found in The Kingis Quair, a 15th-century poem attributed to James I of Scotland, in which Cupid has three arrows: gold, for a gentle "smiting", cured
Chariot racing was one of the most popular Iranian, ancient Greek and Byzantine sports. Chariot racing was dangerous to both drivers and horses as they suffered serious injury and death, but these dangers added to the excitement and interest for spectators. Chariot races could be watched by women. In the Roman form of chariot racing, teams represented different groups of financial backers and sometimes competed for the services of skilled drivers; as in modern sports like football, spectators chose to support a single team, identifying themselves with its fortunes, violence sometimes broke out between rival factions. The rivalries were sometimes politicized, when teams became associated with competing social or religious ideas; this helps explain why Roman and Byzantine emperors took control of the teams and appointed many officials to oversee them. The sport faded in importance in the West after the fall of Rome, it survived for a time in the Byzantine Empire, where the traditional Roman factions continued to play a prominent role for several centuries, gaining influence in political matters.
Their rivalry culminated in the Nika riots. It is unknown when chariot racing began, but It may have been as old as chariots themselves, it is known from artistic evidence on pottery that the sport existed in the Mycenaean world, but the first literary reference to a chariot race is one described by Homer, at the funeral games of Patroclus. The participants in this race were Diomedes, Antilochus and Meriones; the race, one lap around the stump of a tree, was won by Diomedes, who received a slave woman and a cauldron as his prize. A chariot race was said to be the event that founded the Olympic Games. In the ancient Olympic Games, as well as the other Panhellenic Games, there were both four-horse and two-horse chariot races, which were the same aside from the number of horses; the chariot racing event was first added to the Olympics in 680 BC with the games expanding from a one-day to a two-day event to accommodate the new event. The chariot race was not so prestigious as the foot race of 195 meters, but it was more important than other equestrian events such as racing on horseback, which were dropped from the Olympic Games early on.
The races themselves were held in the hippodrome. The single horse race was known as the "keles"; the hippodrome was situated at the south-east corner of the sanctuary of Olympia, on the large flat area south of the stadium and ran parallel to the latter. Until its exact location was unknown, since it is buried by several meters of sedimentary material from the Alfeios River. In 2008, Annie Muller and staff of the German Archeological Institute used radar to locate a large, rectangular structure similar to Pausanias's description. Pausanias, who visited Olympia in the second century AD, describes the monument as a large, flat space 780 meters long and 320 meters wide; the elongated racecourse was divided longitudinally into two tracks by a stone or wooden barrier, the embolon. All the horses or chariots ran on one track toward the east turned around the embolon and headed back west. Distances varied according to the event; the racecourse was surrounded by artificial banks for the spectators. The race was begun by a procession into the hippodrome, while a herald announced the names of the drivers and owners.
The tethrippon consisted of twelve laps around the hippodrome, with sharp turns around the posts at either end. Various mechanical devices were used, including the starting gates which were lowered to start the race. According to Pausanias, these were invented by the architect Cleoitas, staggered so that the chariots on the outside began the race earlier than those on the inside; the race did not begin properly until the final gate was opened, at which point each chariot would be more or less lined up alongside each other, although the ones that had started on the outside would have been traveling faster than the ones in the middle. Other mechanical devices known as the "eagle" and the "dolphin" were raised to signify that the race had begun, were lowered as the race went on to signify the number of laps remaining; these were bronze carvings of those animals, set up on posts at the starting line. In most cases, the owner and the driver of the chariot were different persons. In 416 BC, the Athenian general Alcibiades had seven chariots in the race, came in first and fourth.
Philip II of Macedon won an Olympic chariot race in an attempt to prove he was not a barbarian, although if he had driven the chariot himself he would have been considered lower than a barbarian. The poet Pindar did praise the courage of Herodotes of Thebes, for driving his own chariot; this rule meant that women could win the race through ownership, despite the fact that women were not allowed to participa
The Palatine Hill is the centremost of the Seven Hills of Rome and is one of the most ancient parts of the city and has been called "the first nucleus of the Roman Empire.". It stands 40 metres above the Roman Forum, looking down upon it on one side, upon the Circus Maximus on the other. From the time of Augustus Imperial palaces were built here; the hill is its cognates in other languages. The term palace, from Old French palais or paleis, stems from the proper name of Palatine Hill; the Palatine Hill is the etymological origin of "palatine", a 16th century English adjective that signified something pertaining to the Caesar's palace, or someone, invested with the king's authority. Its use shifted to a reference to the German Palatinate; the office of the German count palatine had its origins in the comes palatinus, an earlier office in Merovingian and Carolingian times. Another modern English word "paladin", came into usage to refer to any distinguished knight under Charlemagne in late renditions of Matter of France.
According to Livy the Palatine hill got its name from the Arcadian settlement of Pallantium. More it is derived from the noun palātum "palate". According to Roman mythology, the Palatine Hill was the location of the cave, known as the Lupercal, where Romulus and Remus were found by the she-wolf Lupa that kept them alive. Another legend occurring on the Palatine is Hercules' defeat of Cacus after the monster had stolen some cattle. Hercules struck Cacus with his characteristic club so hard that it formed a cleft on the southeast corner of the hill, where a staircase bearing the name of Cacus was constructed. Rome has its origins on the Palatine. Excavations show that people have lived in the area since the 10th century BC. Excavations performed on the hill in 1907 and again in 1948 unearthed a collection of huts believed to have been used for funerary purposes between the 9th and 7th century BC approximating the time period when the city of Rome was founded. According to Livy, after the immigration of the Sabines and the Albans to Rome, the original Romans lived on the Palatine.
The Palatine Hill was the site of the ancient festival of the Lupercalia. Many affluent Romans of the Republican period had their residences there. From the start of the Empire Augustus built his palace there and the hill became the exclusive domain of emperors. Augustus built a temple to Apollo here; the great fire of 64 AD destroyed Nero's palace, but he replaced it by 69 AD with the larger Domus Aurea over, built Domitian's Palace The Palatine Hill is an archaeological site open to the public. The Palace of Domitian which dominates the site and looks out over the Circus Maximus was rebuilt during the reign of Domitian over earlier buildings of Nero. Emperors the Severans made significant additions to the buildings; the House of Livia, the wife of Augustus, is conventionally attributed to her based only on the generic name on a clay pipe and circumstantial factors such as proximity to the House of Augustus. The building is located near the Temple of Magna Mater at the western end of the hill, on a lower terrace from the temple.
It is notable for its beautiful frescoes. The House of Tiberius was built by Tiberius, but Tiberius spent much of his time in his palaces in Campania and Capri, it was incorporated into Nero's Domus Transitoria. Part of it is remains in the current Farnese Gardens. During Augustus' reign, an area of the Palatine Hill was roped off for a sort of archaeological expedition, which found fragments of Bronze Age pots and tools, he declared this site the "original town of Rome." Modern archaeology has identified evidence of Bronze Age settlement in the area which predates Rome's founding. There is a museum on the Palatine in which artifacts dating from before the official foundation of the City are displayed; the museum contains Roman statuary. An altar to an unknown deity, once thought to be Aius Locutius, was discovered here in 1820. In July 2006, archaeologists announced the discovery of the Palatine House, which they believe to be the birthplace of Rome's first Emperor, Augustus. Head archaeologist Clementina Panella uncovered a section of corridor and other fragments under Rome's Palatine Hill, which she described on July 20 as "a ancient aristocratic house."
The two story house appears to have been built around an atrium, with frescoed walls and mosaic flooring, is situated on the slope of the Palatine that overlooks the Colosseum and the Arch of Constantine. The Republican-era houses on the Palatine were overbuilt by palaces after the Great Fire of Rome, but this one was not. On the ground floor, three shops opened onto the Via Sacra; the location of the domus is important because of its potential proximity to the Curiae Veteres, the earliest shrine of the curies of Rome. In January 2007, Italian archeologist Irene Iacopi announced that she had found the legendary Lupercal cave beneath the remains of Augustus' residence, the Domus Livia on the Palatine. Archaeologists came across the 16-
In ancient Roman religion and myth, Janus is the god of beginnings, transitions, duality, doorways and endings. He is depicted as having two faces, since he looks to the future and to the past, it is conventionally thought that the month of January is named for Janus, but according to ancient Roman farmers' almanacs Juno was the tutelary deity of the month. Janus presided over the beginning and ending of conflict, hence war and peace; the gates of a building in Rome named after him were opened in time of war, closed to mark the arrival of peace. As a god of transitions, he had functions pertaining to birth and to journeys and exchange, in his association with Portunus, a similar harbor and gateway god, he was concerned with travelling and shipping. Janus had no flamen or specialised priest assigned to him, but the King of the Sacred Rites himself carried out his ceremonies. Janus had an ubiquitous presence in religious ceremonies throughout the year; as such, Janus was ritually invoked at the beginning of each ceremony, regardless of the main deity honored on any particular occasion.
The ancient Greeks had no equivalent to Janus. Three etymologies were proposed by ancient erudites, each of them bearing implications about the nature of the god; the first one is based on the definition of Chaos given by Paul the Deacon: hiantem, hiare, be open, from which word Ianus would derive by loss of the initial aspirate. In this etymology, the notion of Chaos would define the primordial nature of the god. Another etymology proposed by Nigidius Figulus is related by Macrobius: Ianus would be Apollo and Diana Iana, by the addition of a D for the sake of euphony; this explanation has been accepted by A. B. Cook and J. G. Frazer, it supports all the assimilations of Janus to the sun and the moon. It supposes a former *Dianus, formed on *dia- < *dy-eð2 from Indo-European root *dey- shine represented in Latin by dies day and Iuppiter. However the form Dianus postulated by Nigidius is not attested. A third etymology indicated by Cicero and Macrobius, which explains the name as Latin, deriving it from the verb ire is based on the interpretation of Janus as the god of beginnings and transitions.
Modern scholars have conjectured that it derives from the Indo-European root meaning transitional movement. Iānus would be an action name expressing the idea of going, formed on the root *yā- < *y-eð2- theme II of the root *ey- go from which eō, ειμι. Other modern scholars object to an Indo-European etymology either from Dianus or from root *yā-. From Ianus derived ianua, hence the English word "janitor". While the fundamental nature of Janus is debated, in most modern scholars' view the god's functions may be seen as being organized around a single principle: presiding over all beginnings and transitions, whether abstract or concrete, sacred or profane. Interpretations concerning the god's fundamental nature either limit it to this general function or emphasize a concrete or particular aspect of it or else see in the god a sort of cosmological principle, interpreting him as a uranic deity. All of these modern explanations were formulated by the ancients, his function as god of beginnings has been expressed in numerous ancient sources, among them most notably Cicero and Varro.
As a god of motion, Janus looks after passages, causes actions to start and presides over all beginnings. Since movement and change are interconnected, he has a double nature, symbolised in his two headed image, he has under his tutelage the stepping in and out of the door of homes, the ianua, which took its name from him, not vice versa. His tutelage extends to the covered passages named iani and foremost to the gates of the city, including the cultic gate of the Argiletum, named Ianus Geminus or Porta Ianualis from which he protects Rome against the Sabines, he is present at the Sororium Tigillum, where he guards the terminus of the ways into Rome from Latium. He has an altar a temple near the Porta Carmentalis, where the road leading to Veii ended, as well as being present on the Janiculum, a gateway from Rome out to Etruria; the connection of the notions of beginning, movement and thence time was expressed by Cicero. In general, Janus is at the origin of time as the guardian of the gates of Heaven: Jupiter himself can move forth and back because of Janus's working.
In one of his temples that of Forum Holitorium, the hands of his statue were positioned to signify the number 355 365, symbolically expressing his mastership over time. He presides over the concrete and abstract beginnings of the world, such as religion and the gods themselves, he too holds the access to Heaven and to other gods: this is the reason why men must invoke him first, regardless of the god they want to pray to or placate, he is the initiator of human life, of new historical ages, financial enterprises: according to myth he was the first to mint coins and the as, first coin of the liberal series, bears his effigy on one face. Janus symbolized change and transitions such as the progress of past to future, from one condition to another, from one vision to another, young people's growth to adulthood, he represented time, because he could see in